South

These projectiles are molded from a Confederate artillery round and cast in resin embedded with rubble from a demolished cotton mill in Alabama.

Ordnance 1 - 3

2018, cast resin and rubble, 5.5" x 3" x 3" each

Preserves

This work consists of small bits of rubble encased in resin, cast in small bags.

Preserves

2018, found objects + resin, pins, .15” x 15” x 1”

Untitled

2018, found object + resin, 3.5” x 7” x 2”

Screens

Contemporary culture primarily presents itself to us through the screen. We look to screens for entertainment, information, communication and commerce. Through advertising, screens tell us what we should want, what we should be doing, and who we should be. The television screen holds a place of reverence at the center of the household, as a kind of altar, portal, and vessel. It only makes sense that upon their ceasing as useful objects they are shot, shattered, and left in the desert as an act of ritual destruction.

Across time and culture, the breaking of ceremonial vessels has been practiced. Through the act of shooting, these vessels of culture are destroyed as the shooter takes vengeance upon its master, turns violent image upon itself, and likewise celebrates the power of the television. Other vessels of cultural importance give us an altered perspective, though either medicine or machine. It is my intention to use the destroyed objects through which we view our world, whether TV, bottle, or windshield, as a monument to the power of these objects and as to illustrate the peculiar destructive rituals of contemporary culture.

This body of work consists of several materials and processes, ranging from the use of readymades and collage techniques, to works of casting and printmaking. The bullet ridden source material of LCD screens, windshields, signs, boxes and bottles was scavenged from the desert outskirts of Santa Fe alongside arroyos, fences, and embankments. Readymades exist as a television body, signs, and car windshield. LCD screen fragments are utilized as form of collage, adhered together to form a veil. LCD screen is used as a tool for printmaking as well, through inking of the fragments and utilizing a press. Windshield and bottle fragments have been molded and cast in metals and resin, highlighting the fractured beauty of the once important cultural objects.

veil

2017, assemblage of found LCD screen, 72" x 54"

diptych

2017, assemblage of found LCD screen, 27.5" x 48"

screen

2017, assemblage of found LCD screen, 8" x 7.5"

screen 2

2017, assemblage of found LCD screen, 9.25" x 8.25"

screen 3

2017, assemblage of found LCD screen, 11" x 7.5"

screen 4

2017, assemblage of found LCD screen, 8.5" x 14"

screen 5

2017, assemblage of found LCD screen, 12" x 11.25"

screen 6

2017, assemblage of found LCD screen, 6.25" x 6"

screen 7

2017, assemblage of found LCD screen, 12.25" x 9.25"

screen 8

2017, assemblage of found LCD screen, 12.25" x 9.25"

screen 9

2017, assemblage of found LCD screen, 12" x 9.25"

vessel

2017, found object, 32" x 57" x 3"

shroud

2017, found object, 36" x 58" x 1"

Refuse

These works consist of debris collected from the desert, and made permanent through casting.

shatter #1

2016, cast stainless steel, 5" x 2.5" x 0.25"

shatter #2

2016, cast stainless steel, 3.75" x 3.75" x 0.25

shatter #3

2016, cast stainless steel, 6.5" x 3" x 0.25"

shatter #4

2016, cast stainless steel, 11.5" 7.5" x 0.5"

shatter #5

2017, cast stainless steel, 4.5" x 4.5" x 0.25"

shatter #6

2017, cast aluminum, 14.5" x 7.5" x 0.25"

shatter #7

2017, cast aluminum, 4.75" x 4" x 0.25"

shatter #8

2017, cast aluminum, 4.5" x 4.5" x 0.25"

shatter #9

2017, cast aluminum, 5" x 4" x 0.25"

shatter #11

2017, cast aluminum, 9" x 3.5" x 0.25"

shatter #10

2017, cast aluminum, 3.25" x 3" x 0.25"

break #1

2016, cast stainless steel, 3.5" x 3.5" x0.5", edition of 3

fragment #1

2016, cast stainless steel, 1" x 1.5" x 0.25", edition of 9

box #1

2015, cast stainless steel, 6" x 3" x 0.5"

box #2

2015, cast stainless steel, 5" x 2.5" x 0.5"

box #3

2015, cast stainless steel, 5" x 2.5" x 0.5"

box #4

2015, cast stainless steel, 3" x 2" x 0.5"

box #5

2015, cast stainless steel, 3" x 2" x 0.5"

Prints

disintegration 1

2017, monoprint, 30" x 27"

disintegration 2

2017, monoprint, 30" x 27"

disintegration 3

2017, monoprint, 30" x 27"

disintegration 4

2017, monoprint, 30" x 27"

disintegration 5

2017, monoprint, 30" x 27"

disintegration 6

2017, monoprint, 22.5" x 15"

disintegration 7

2017, monoprint, 22.5" x 15"

shatter 1

2018, monoprint, 21.5" x 15.5"

As Above, So Below

As Above, So Below is an installation of cast bronze datura pods, and aluminum cast sphinx moth chrysalises hanging from monofilament. This was installed in Cross Pollination, a show curated by Valerie Roybal at 516 Arts in Albuquerque, New Mexico.

Lines

Fences and gates spread across the land in an act of containment and constriction, of occupation and ownership. These enclosures serve as placeholders of wealth from which resources are expropriated. Through the lens of capitalism, the land must be contained in order to be represented as a commodity. Gates serve only as an illusion of proprietorship, to be quickly rendered useless to those that dare trespass.

This installation consists of several gates which were found damaged beyond use. Once utilized as lines of containment upon the landscape, these gates are represented as frail artifacts of capitalist culture. Suspended and painted white, the gates project shadows which form rigid linear compositions. In this context, the damaged and useless gates leave us only with the illusory projection of the land as property.

Straps

gesture study

2016, found object + copper leaf, 36" x 100" x 12"

gesture study 2

2016, found object + copper leaf, 36" x 84" x 4.5"

strap #1 + #2

2016, found object + copper leaf, 65" x 157" x 30"

strap #3

2016, found object + copper leaf, 60" x 108" x 24"

knot #1

2016, found object + copper leaf, 25" x 12" x 7"

knot #2

2016, found object + copper leaf, 19" x 10" x 8"

knot #3

2016, found object + copper leaf, 30" x 5" x 1.5"

strap study #1

2016, found object + 23k gold, 4"x4" x 8"

strap study #3

2016, found object + 23k gold, 4" x4" x 8

Sheets

Found sheets of steel gilded in copper leaf.

sheet #11

2016, found object + copper, 30" x 70" x 20"

sheet #9

2016, found object + copper, 27" x 24" x 12"

sheet #8

2016, found object + copper, 32" x 20" x 18"

sheet #7

2016, found object + copper leaf, 20.5" x 18" x 5"

sheet #6

2016, found object + copper leaf, 51" x 25.5" x 6"

sheet #5

2016, found object + copper leaf, 28" x 14" x 3.5"

sheet #4

2015, found object + copper leaf,

sheet #3

2015, found object + copper leaf, 45" x 22" x 9"

sheet #2

2015, found object + copper, 21"x23" x 7"

sheet #1

2015, found object + copper, 20" x 15" x 6"

Grotto

Grotto consists of a vintage truck cab found abandoned in an arroyo in Santa Fe, New Mexico. The interior of this piece has been gilded with copper.

grotto

2016, found object + copper leaf, 62" X 78" X 38"

Artifacts

These works consist of fragments of cans, buckets, bottles, signs and fence posts which have been altered through gilding in gold and copper. These objects are artifacts of previous use which were discarded in the desert outside of Santa Fe, New Mexico.

tank #2

2016. found object + 23k gold leaf, 16" x 13.5" x 8.5"

tank #1

2016, found object + copper leaf, 30" x 27" x 10"

artifact pair

2015, found objects + 23k gold, 3" x 4" x 3.5" + 2.5" x 3.5" x 1"

discard #1

2015, found object + copper, 10" x 15" x 4"

discard #2

2015, found object + copper, 10.5" x 5.5" x 3"

discard #3

2015, found object + copper, 9" x 10" x 2"

discard #4

2015, found object + copper, 9.5" x 5" x .5"

discard #5

2015, found object + 23k gold, 4" x 3" x 0.25"

discard #6

2015, found object + 23k gold, 4" x 4" x 1"

discard #7

2015, found object + 23k gold, 6" x 3" x 1.5"

discard #8

2016, found object + copper leaf, 22" x 9" x 2"

discard #10 + #11

2016, found object + copper leaf, 25" x 30" x 8.5"

discard #12

2016, found object + copper leaf, 18" x 11" x 7"

discard #13

2016, found object + copper leaf, 15" x 12" x 2.5"

discard #14

2016, found object + copper leaf, 19" x 12"x 4"

discard #16

2016, found object + copper leaf, 27"x 24" x 9"

discard #18

2016, found object + copper leaf, 11" x 11" x 4"

discard #17

2016, found object + copper leaf, 13" x 9" x 6"

discard #20

2016, found object + copper leaf, 14" x 14" x 5"

bucket #1

2016, found object + copper leaf, 10" x 9" x 10"

drum #1

2016, found object + copper leaf, 28" x 25.5" x 23"

drum #2

2016, found object + copper, 27" x 16" x 16"

lid #1

2015, found object + 23k gold, 2" x 2" x 0.25"

sign #1

2015, found object + copper, 18" x 14" x 0.75"

sign #2

2015, found object + copper, 15" x 11.5" x 0.75"

sign #3

2015, found object + copper, 10" x 11" x 0.75"

sign #4

2015, found object + copper, 5" x 7" x 0.5"

sign #5

2015, found object + copper, 3" x 3" x 0.25"

sign #6

2015, found object + silver, 4.5" x 7.5" x 0.75"

sign #7

2015, found object + copper, 9" x 9" x 0.75"

sign #9

2015, found object + copper, 8" x 5" x 0.75"

sign #8

2015, found object + copper, 8" x 8" x 0.75"

sign #10

2015, found object + copper, 9.5" x 6" x 0.25"

post #1

2015, found object + copper, 16" x 6" x 4"

post #3

2015, found object + copper, 2" x 7" x 5"

hoop #1

2015, found object + copper, 32" x 16" x 3"

hoop #2

2015, found object + copper, 25" x 15" x 3"

hoop #3

2015, found object + copper, 22" x 13" x 3"

hoop #4

2015, found object + copper, 12" x 9" x 1.5"

hoop #5

2015, found object + copper, 10.5" x 9.5" x1.5"

hoop #6

2015, found object + copper, 9.5" x 10.5" x 1.5"

Resources

An appetite for energy resources has defined the colonial history of the desert southwest.Along with westward settlement came a need for wood for heat and shelter, coal for railroad and steel, and oil and gas for power and transportation.While villages and towns may boom and bust, the evidence of them remains.These objects serve as placeholders of exhausted resources.

This work started with the collection of found materials all originating in the Caja del Rio, a desert region West of Santa Fe, New Mexico.This land has been utilized over many centuries for its energy resources from food to fuel.Over the past few hundred years, this area has been over grazed by cattle ranching, and over harvested of lumber. What remains is an ecosystem scattered with the legacy of its use, with a sporadic stump and perhaps a beverage or sardine can from the individual who felled the tree.

An assortment of food and beverage cans, buckets, and gas containers are used in this work.Some have been sacrificed to years of target practice, and others left carelessly after a hard day of labor.The interiors of these rusty objects have been gilded in precious metals.While it is obvious that these containers themselves are of little value, it is what these objects contained which was of use.The means to an end is the next food or drink from the container to enable another day of labor, or the fuel to drive engines further into the wilderness in search of wood for winter heat.This work re-presents objects of our use on our quest for energy.

Remnants

This body of work centers around natural fuel resources and what is left behind in our quest for energy. This consists of stumps, wood fragments, and deteriorating fences which were collected also from the Caja del Rio.

The stumps collected range from pinion cut in the last decade, to junipers cut with an axe before the era of chainsaws.These are coated in whitewash, which consists of lime, a product of limestone.Whitewash serves to preserve wood from deterioration.To whitewash is also meant to obscure an underlying dirty truth.To be whitewashed could also refer to assimilation to a dominant white culture, that in the colonial push westward both land and culture were viewed as resources to be conquered and "civilized". Whitewash in all of its contexts applies in this instance.Removed from the earth, the whitewashed stumps take on a skeletal and ghostly appearance.Once into a grid, they also begin to reference gravestones.

Some of these stumps and wood fragments have also been preserved as metal castings, serving as permanent mementos to our consumption. Timbers from fences and corrals have been utilized to reference the landscape of which they were intended to subdivide.

As resources dwindle, more energy resources must be used in search of what remains of energy resources, contributing to an unsustainable cycle of consumption.In the end, it will be what we leave behind in our quest for resources by which we will be remembered.

remnant

2015, whitewash + found objects

remnant

installation view

root down

2015, whitewash + found object, 26" x 36" x 26"

fragment

2015, whitewash + found object

fragment

2015, whitewash + found object

fragment

2015, whitewash + found object

fragment

2015, whitewash + found object

memento

2015, cast aluminum, 8" x 7" x 6"

memento

2015, cast aluminum, 8" x 5" x 5"

memento

2015, cast aluminum, 9" x 12" x 5"

memento

2015, cast aluminum, 9” x 5” x 5”

plank

2015, cast aluminum, 4" x 14.25" x .5"

horizion

2015, found objects

splinters

2015, cast aluminum

totem

2015, whitewash + found objects, 51.5" x 9.25" x 7.5"

Relics

This series of work is comprised of iron castings of obsolete technologies, from floppy disks and a VHS tape, to vintage video gaming systems. These objects serve as fossils and fetishes of our technological culture.

iMac G5

2014, cast iron, 16" x 19" x 2"

floppy disk

2014, cast iron, 3.5" x 3.5" x 0.125"

vhs cassette

2014, cast iron, 4" x 7.5" x 1"

nintendo entertainment system

2014, cast iron, 3.5" x 10" x 8"

Playstation

2014, cast iron, 2" x 10.5" x 7.25"

gameboy

2014, cast iron, 5.5" x 3.5" x 1.25"

nintendo game cartridge

2014, cast iron, 5.25" x 4.25" x .5"

super nintendo game cartridge

2014, cast iron, 3.25" x 5.25" x .75"

gameboy game cartridge

2014, cast iron, 2.5" x 2.25" x .25"

smartphone

2014, cast iron, 5" x 2.5" x .5"

nintendo controller

2014, cast iron, 2" x 4.75" x .5"

mouse

2014, cast iron, 1.5" x 2.5" x 4.5"

Games

A series of cast metal toys, controllers, and other objects of our entertainment.

viewmaster

2014, cast iron, 3.5" x 5 x 3"

xbox controller

2014, cast iron, 2" x 6" x 4"

zapper

2014, cast iron, 7" x 11" x 1.5"

nintendo controller

2014, bronze, 2" x 4.75" x .5"

floppy disk

2014, bronze, 3.5" x 3.5" x 0.125", edition of 9

mouse

2014, bronze, 4.25" x 2.5" x 2.25"

stereo remote

2014, bronze, 1" x 2" x 4.75"

tv remote

2014, bronze, 1" x 2" x 5"

Babble

The following works consist of cast tongues.The Tower of Babble is a nearly 7ft stack of cast bronze tongues, referring to language and the Tower of Babel story. Babble is a smaller segment cast in iron.Babble in Blue is cast in plaster and painted with a gloss enamel. Doublespeak is inspired by the increasingly Orwellian language propagated though our entertainment news media system.

tower of babble

2014, bronze, 81" x 4" x 4"

babble

2009, cast iron, 12” x 5” x 5”

babble in blue

2013, plaster + paint + wood, 15" x 5" x 5"

babble

2014, silver gilded plastic, 4" x 4" x 4"

doublespeak

2013, bronze + 23k gold, dimensions variable

doublespeak

2013, bronze + 23k gold, 1" x 1.5" x 2.25"

Capital

This body of work revolves around the role in which banking institutions play in violence, as represented through mediums such as pepper spray and the shotgun, and how this is legitimized though the deification of capital itself. It is all too evident in analyzing our current financial system that the god of greed reigns supreme. In doing so corporate symbolism becomes that of a sacred language, and the temples in which this is practiced being the bank. These objects serve as fetishes of the cult of capital.

deify

2012, cast iron + found object, edition of 9, 2.75” x 2.75” x 2.75”

crumble

2012, cast iron, 1.5” x 2” x 2”

crumble

2012, aluminum, 1.5” x 2” x 2”

crumble

2012, bronze, 1.5” x 2” x 2”

market mandala: bank of america

2012, cast iron, 24” x 22” x .5”

market mandala: hsbc

2012, cast iron, 24” x 24” x .5”

market mandala: chase bank

2012, cast iron, 17” x 16.5” x .5”

natwest

2012, cast iron, 6” x 7” x 7”

rbs

2012, cast iron, 5.75” x 5.75” x .5

chase

2012, cast iron, 5.75” x 5.75” x .5”

pyramid I

2012, cast iron, 8” x 8” x 8”

pyramid II

2012, cast iron + copper pennies, 5.5” x 5.5” x 5.5”

pyramid III

2012, cast iron + zinc pennies, 3.5” x 4.5” x 4.5”

debt noose

2012, one dollar bills + wire, 17” x 5” x 1.5”

debt snare

2012, one dollar bills + wire, 25” x 8” x 1.5”

violence of capital: bank of america

2012, pepper spray on paper, 11” x 16”

violence of capital: chase

2012, shotgun on paper, 22” x 30”

violence of capital: chase

2012, pepper spray on paper, 12” x 12”

violence of capital: bank of america

2012, shotgun on paper, 22” x 30”

violence of capital: federal reserve

2012, pepper spray on paper, 15” x 22”

violence of capital: world bank

2012, pepper spray on paper, 9” x 12”

violence of capital: rbs

2012, pepper spray on paper, 15” x 22”

violence of capital: bank of international settlements

2012, pepper spray on paper, 15” x 22”

violence of capital: ubs

2012, pepper spray on paper, 22” x 30”

violence of capital: hsbc

2012, pepper spray on paper, 15” x 22”

violence of capital: barclays

2012, pepper spray on paper, 11” x 16.5”

Shelter

At this time of shifting financial structures worldwide, one cannot escape the long arm of debt. As consumers we borrow from a banking system which borrows from another banking system which borrows from borrowing, throwing everyone involved into a spiral of unsustainable debt. The collapse which grows larger daily is due to the foundations of the structures giving way, or in many cases, not existing in the first place. This abstracted system of debt and money represents real assets, such as homes, which in this case were seized by financial institutions by the millions throughout the last 4 years. As of January of 2011 1 in 45 houses was in foreclosure, numbering 2,183,056 homes.

This body of work examines the current economic fallout relating to the debt and housing crisis. This ranges from small blocks of houses upon a foundation of debt, represented as the iconic credit card, to houses created entirely out of debt only standing as houses of cards in await of collapse.

Small neighborhood structures, such as 89119, consist of Monopoly game houses cast from recycled zinc pennies, as since 1982 pennies consist primarily of zinc rather than copper. The zinc penny, which costs 1.4 cents to produce, is in reality worth 6/10 of a cent in raw material value.

The Monopoly house itself brings to mind the winner takes all board game and its relationship to our current condition. The structure of the neighborhoods, which are noted by numeric title, or zip code in this case, mimic satellite images of the heaviest affected zip codes within the US. All of which rests upon a concrete foundation suspended from the ceiling, thus literally nothing underneath these structures and hanging from a string.

An image that has recently invaded our consciousness are streets lined with foreclosure signs. Thus what is to be done with such images? In this instance I have decided to create shelter out of them. In doing so, the energy and resources used for production of the marketing of property is redirected towards that of building shelter, a necessity for survival.

Critique

The following works stand alone as critiques of culture and society, and exist as unique objects, rather than existing within a larger body of work.

The Truth in Sculpture serves as a commentary on what is truth in object and the representation of such, as through the terms set forth by Jacques Derrida in reference to a painting of shoes by Van Gogh. This, being not only a re-presentation, but also a reproduction of form still falls short to that of truth. The boots now rendered useless, at least from their intended use, can only serve us as symbol. Symbol of both artist and artisan, and tool to product, as such boots are tools of the metal casting trade. The medium refers back unto itself and its own creation, pointing to a new truth beyond that of utility and of art objects.

Santa Fe Scene is a found coyote skull gilded in 23K gold and speaks for itself..

Hey Mickey depicts the famous Mickey Mouse holding an oil drum, which points to the collusion between big entertainment and big business.

Blast Bouquet consists of cast shot shell wads and muzzle loading sabots. These serve in aiding the projectile or projectiles while leaving the barrel of a gun. Originally plastic, these are recast into bronze and fabricated into what appears floral. Thus the regenerative image of the flower from destructive force.

the truth in sculpture

2008, cast iron, mens size 10 US

santa fe scene

2013, coyote skull + 23k gold, 3" x 4" x 8"

hey mickey

2012, cast iron, 3" x 2.25" x 1.5"

joystick

2013, bronze + 23k gold, 2.75" x 2" x 1.5"

blast bouquet

2009, bronze, dimensions variable

reason for the season

2009, cast bullet lead, dimensions variable

sweet hearts

2010, bronze, 0.5" x 0.5" x 0.25"

band-aid solutions

2011, globe + band-aids, 16” x 12” x 12”

death of money

2011, small wood casket + money, 6.5” x 14” x 6

Colony

These works involve a playfulness of form and context that lies somewhere between the phallus and the mammary. The form itself is derived from casting material into condoms. Through process, the form inflates and brings about a new formal identity far from its original context. These phallomammary forms are grouped together in most instances, suggesting organic growth, which create communal structures that support one another physically. These objects are not intended to be defined, as in their creation definition is brought into question.

Obsolescence

In this day of technological advancement, one is overwhelmed with the mechanisms of manipulation. Technology is moving faster than the machines that utilize such, thus creating a wasteland of obsolescent things. These things, once used to store information, turn on, and tune in only exist as empty visages of their own utility.

Upon our own obsolescence, it is these things that will be used to understand us as a culture, serving as hollow reliquaries containing an undecipherable language of past data. These machines serve as libraries of information sealed by their own devices. These obsolescence totems present themselves as fetishes to obsolescent technologies and obsolescent ideas to be deciphered in the future.

obsolescent sphere

2008, cast iron, 5” x 5” x 5”

obsolescent being I

2008, cast iron, 15” x 4.5” x 4.5”

obsolescent being II

2008, cast iron, 17” x 5.5” x 5.5”

obsolescent being III

2008, cast iron, 14” x 6” x 6”

obsolescent being IV

2008, cast iron, 13” x 6.5” x 6.5”

obsolescent being V

2008, cast iron, 15” x 7” x 7”

obsolescent totem

2007, bronze + steel, 5.5’ x 6” x 6”

way of the buffalo

2010, bronze, 11” x 19” x 13”, commissioned work

sample/relic

2005/2012, cast iron, 1” x 5.5” x 5.5”

antiquated machine I

2005, bronze, 5” x 4” x 4”

antiquated machine IV

2005, plastic, 6.5” x 3.5” x 3.5”

antiquated machine V

2005, plastic, 5” x 6” x 6”

stack II

2006, plastic, 3.5” x 4” x 4”

remix/reliquary IV

2005, plastic, 15” x 8” x 5”

remix/reliquary V

2005, plastic, 15” x 7” x 4”

Toys

This body of work revolves around the premise of toys and the association of these objects to concepts of power and control. These toys, though quite harmless in their original physicality, are cast into materials such as lead and iron, referring the object back to that of an ominous nature, that of surveillance and control.

These objects were chosen for such properties and references, and then transmuted into materials which further this dialog. These use objects, being tools of control whether virtual or physical, now inoperative, simply operate on a symbolic level as a cold, hard monument to the idea of control. This brings about the question: Who is in control and by what means are they controlling?

zapper

2008, cast aluminum + steel, 7” x 11” x 1.5”

joystick

2008, cast iron + steel, 7” x 2.5” x 2”

webcam

2008, cast iron + steel, 6” x 2.5” x 4”

joystick installation

2008, cast lead, 5.5" x 2" x 2" each, 15pcs

remote joystick

2009, bronze, 5.5” x 7.5” x 3.5”

joystick

2009, bronze, 3.5” x 2” x 1.75”

joystick structure

2009, cast iron, 3” x 6.5” x 6”

push

2009, bronze, 1.75” x 2.75” x 2.75”

+ pads

2009, silver, .25” x 3” x 3”

Science

The following works are all cast from objects of scientific use. These forms were discovered at the Black Hole, a salvage yard specializing in nuclear detritus from Los Alamos National Laboratory, home of the atom bomb. The objects chosen consist of an odd measuring device, vacuum tubes, and insulators of different sizes. These items were then re-cast in different materials and presented in cubic formations, as a reference to molecular structure.

cubic peculiar I

2008, cast aluminum, 5” x 5” x 5”

cubic peculiar II

2008, cast lead, 4.5” x 6” x 6”

cubic peculiar III

2009, bronze, 3” x 7” x 7”

cubic peculiar IV

2009, cast iron, 4” x 14” x 14”

Boxes

Dividing, deconstructing, and restructuring, humankind has strived to contain nature. The most common tool of containment is that of the fence or wall. Within such rigid structures are organic material, shape, and form. In these particular works, organic shapes and natural materials are displaced into the cold reality of the cube.